Initially I sketched out the block shapes I wanted to see if they would work as a collection, then made a paper rendition of each one (actually 3 different sizes for the circles) so that I could fling the constituent parts down on my cutting table for each block, shuffled them about a bit and decide if I liked the arrangement.

I decided to give myself a couple of rules, one that I wanted to alternate the top and the bottom blocks, and the other that I wanted the rainbow gradation to go diagonally across the quilt, following the arrangement of the fabrics in the bundles. With 25 fabrics per bundle, I decided that to give them all the best chance to both shine and coalesce I would use 49 of them and do a 7 x 7 arrangement, so I hoiked out one of the mustardy coloured ones (which I admit are not my favourite) and then sat there with some gridded paper and having assigned a number to each fabric in the pile worked out what number to put in which location to try and spread things out. In total there were 4 units x 49 blocks, each of which were represented by a different place on the gird and each of which could be a different colour. I had no idea when I did this what colour would end up where, but I trusted that Robert Kaufman’s arrangement in the stack would give me a gradual enough gradation that things wouldn’t end up too clashy and off the wall.

With each number in the grid 4 times, I propped that up against my hardware storage boxes on my cutting table and then having cut masses of white bits I started randomly arranging block units, only ever pulling fabric and cutting the KLT for one block at a time, so I never knew if, for example, I would end up with the same shapes coming point to point on the diagonal, or crowded in a meeting of block corners (each unit was off centred, so as to create good amount of white space). My inner planner would have ideally regimented them, but the point was to try and not regiment things, so there we go, things have clumped and colours are adjacent and the world did not end. Yet.

For the backing I used some of my hoarded Tula Pink wideback (I’m determined to actually use ALL the nice fabric this year) in the orange, as I figured this was a quilt that could handle a bold backing. The binding was in some of the navy daisy print that I happen to have picked up in the Fluffy Sheep Quilting closing down sale (I clearly had a premonition that it would be useful!)

So there it is, proof that I actually can cut into and use Karen Lewis Textile fabrics (it’s been a bit of a running joke between us over the years that I just buy it to pet it)

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6 Comments

Having read through your approach above, I have no idea how it all worked but I must say that the end result is absolutely stunning and I am full of admiration – well done

Maddy
on 21st August 2017 at 3:09 pm

The waiting was tough but seeing the KLT quilt in all its glory makes it worth the wait. Well done Katy.
I had intended on waiting to get a copy of Quilts Du Jour before starting another quilt but after spending three weeks with my sister we’re each making Double Wedding Rings quilts. It’s been awhile since I’ve made one without using a rotary cutter and I can’t wait until I’m done with the cutting.

Love what you’ve done here, and especially that you let a few details out of your control – the result is really wonderful!!

Dawn Jeffs
on 21st August 2017 at 11:07 pm

I love the unpredictability of your quilt, over all the quilt looks great and I only noticed how close some of your coloured pieces are together after you described your design process and the world didn’t end! Pretty liberating. Thanks Katy for more great inspiration 😀

Helen
on 21st August 2017 at 11:45 pm

Gorgeous quilt Katy . I loved watching this all come together. I did buy a little in cindys sale , now I keep thinking i should have bought more . Ah well , too late now

That is an amazing and beautiful quilt. It is truly a showstopper, Katy! Personally, I have yet to cut into any of my Karen Lewis fabrics, but I only have one of the FQ bundles.

Hi, I'm Katy Cameron, head of the Thistle Patch here in Glasgow, UK where I design bag and sewing patterns and sell parts for vintage sewing machines, specialising in Singer Featherweights. Welcome to the site.